Starting Point: 1979-1996

MIYAZAKI: I think children have an instinctive perception of the problems of our time, of the problems that lie beneath the surface like a bass harmony. They feel uneasy that they are not blessed, or feel like they are left holding the joker in a game of Old Maid. Nor do the grown-ups give them any clear answers. All the grown-ups can say is things

We took pride in the fact that reviewers talked mainly about the way Toy Story made them feel and not about the computer wizardry that enabled us to get it up on the screen.

The heroine of this film disavows humanity. She thinks humans are despicable beings. This is an issue relevant to many people who live in this world. They can’t consider humans to be worthy. They are beginning to think that the most despicable creatures on this earth might be human beings. This is something that was unthinkable in the nineteenth ce

The people in the ironworks are kind, but when San breaks in, they become very brutal. They surround her, taunt her, and try to kill her. Yet they are ordinary people. Seeing this, Ashitaka does not denigrate everything about them. Even though they have these traits, he tries to accept them. And he tries somehow to control the power of the curse on

Nowadays, when telling old fables, it almost seems as though the old fairy tales have been defanged; it’s almost as if Momotarō the Peach Boy goes to Onigashima Island to destroy the demons, and as soon as he lands the demons surrender. What do you think of this trend? MIYAZAKI: Right after the end of World War II, the old children’s fairy tales—su